Housewarden and founder of Gallenautica. A maverick who lives by his own creed, with a flair for the dramatics that leads many to doubt his expertise. Some say his head is just barely bigger than his many ambitions.
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BASIC INFORMATION
Full name: Zehavi Flint Hooke
Nickname: Havi, Roi des Voleurs
Gender: Male (he/him)
Age: 19
Birthday: 07/20
Height: 193cm (6’4”)
Homeland: Neverland
Grade: 3rd Year
Class: 3-D
Best Subject: Geography
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UNIQUE MAGIC— No Prey, No Pay
This signature spell allows Zehavi to create pocket dimensions, in which he can hide things or even store people in. It also lets him escape and hide in it himself, but because the entrance moves wherever he opens it, when he’s inside he just opens it again where he last was. There exists no current capacity limit, and he can make many different 'chests' and ‘cycle’ through which one he wants to open.
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BACKSTORY
have you checked out neverland yet? this has important context to the rest of his lore
Zehavi was born the bastard son of a rich man. He doesn't know who his mother is, and only vaguely has an idea of who his father might be, as he was immediately thrown into the Brass Ring.
When he was much younger, he tried so very hard to emulate the attitude of the rich and prosperous, or what he knew about them, and genuinely dreamed of and believed that if he tried hard enough he would be accepted. After all, they shared the same blood! And so he acted very haughty and demeaning towards the people around him.
He later has the class consciousness beat into him during a fight with a fellow street urchin whose name he learns is Flynn (@/anotherwordfor2) after he tried ordering her around.
“It’s not fair—“ The boy in front of her shouts, grinding his teeth together. He’s crying. “It’s just not fair! All these other people get to get ahead in life!! Why not me?? If I’m a rich man’s son then what did I do wrong?! I was just born!! I didn’t get to decide that!!”
He becomes friends with her and another boy she was already friends with named Sabir. Though she'd often have to break the two up when they started fighting, these three became a group of people (troublemakers, thieves, useless brats) that called themselves 'The Lost Boys,' because they had nothing and nobody but each other so they were always lost, always wandering.
Zehavi was just a sad kid who didn't understand the reason why he was treated so differently or why— if he'd done nothing wrong, if he had the same blood in his veins— that he was treated like this at all. The more time he spends with Sabir and Flynn, the more this question gets changed until it asks why anyone, from anywhere, gets treated this way for simply being born into this world.
But time doesn't stand still for anyone.
Flynn gets adopted. Gone. No way to find her, no way to get back to her. Lost. And they promised to stick together, but no...something happens to Sabir, and he loses his other half too. Suddenly lost boys becomes lost boy, and Zehavi is alone in the brass ring with nothing but memories and a world that tells him he has to get older to face it.
Zehavi does not get goodbyes in his life as much as he does departures.
But what can he do? Nothing. Nothing but keep going. And so, he finds work at the docks. Makes a living, picks up tips and tricks, figures out how to survive on his own. A few years pass and he becomes somebody. Somebody important, no, at least somebody recognizable. Good things, bad things, just things. Zehavi is old, older, only a young teen, but he carries himself with the swagger of someone much more experienced and wise.
He's taken the name of the people he loved so dearly, his lost boys, and turned it into something he could use to survive. A guild of sorts, a trademark, a crew, if you could call a bunch of misbehaved kids who trail after him something like that.
It's this way that he reunites with Sabir. Sabir who has lost many things, evidently when he does not recognize Zehavi himself. Instead, Sabir follows the trail of the guild named after something he feels he's been chasing since he was taken in, brought elsewhere. And something's different, changed in a way that can't just be blamed to time passing. No more of the same joking, near none of the memories. Zehavi doesn't think too much about it. Is scared to. Let him change. He's back. That's what really matters now.
And he and Sabir immediately become part of each other's lives. Zehavi takes his hand in his and says, "Sabir, my friend, Sabir, my other half, Sabir— we are going to become pirates."
Working at the docks had helped shape Zehavi's goal. At first, he longed to be one of the ships making a one way trip out of this dump. Watched them longingly before remembering where he was and straightening his back. To sail the open sea, to get away from all of this, that was freedom.
But why should it just be his? What makes him so special he alone deserves freedom? Especially in meeting Sabir again— whose head is all up in the clouds, his memory fuzzy, not as abrasive with him anymore— his dream has changed, but it is so much more than that. With meeting all kinds of people and kids just like him. He still wants to travel, he wants to see the world.
But more than that, he wants better. Better for his people, for his home, because that's what this place is. It's home, and it, like all of the people that inhabit it, deserve better than it was given, better than it was told it could be.
"Sabir—" Zehavi squeezes his shoulders with a mad grin, breathless. "My first mate."
Lots of stuff happens here on their adventures, but I'll skip a little ahead to 15 for Zehavi, 13 for Sabir let's say. There's a storm, and it's bad. It's rocky. The crew, magicless, just barely make it below deck. Zehavi stays at the wheel trying his best to steer the ship. Sabir is shouting. Zehavi tells him to go. Sabir reaches for him. Zehavi is slipping.and
Zehavi goes overboard.
He was going to die. He should have died. But something, somebody was there...carried him away to safety. When he wakes up, sure, he's lost his arm, but hell! Alive! Breathing! He's alive!
This is how Zehavi F. Hooke meets Kailani Clockwise for the very first time.
She's a quiet, shy little thing, but vicious in her own right, mighty capable, and much more than that— his savior. Zehavi works hard to break through her tough, scaly exterior. At first she just trails after the ship, doesn't dare stand among them. but he waits, He holds his hand out, the very same that was lost when she saved him, and soon, something changes, and she becomes one of them as naturally as breathing.
But time— and Zehavi is so, so sick of not being able to do anything to stop or help the people dearest to him— it catches up, it outpaces him, it catches him entirely offguard, and Kailani slips out from his grasp with nothing more than a sad look over her shoulder before she dives deep into the dark depths he almost drowned in, and Zehavi never sees her again. No matter how hard he searches.
And he SEARCHES. It takes Havi so far and so long that he ends up avoiding his enrollment to Night Raven College for a full year, before the rest of the crew pulls him aside and tells him, 'Just try it,' 'You're one of the best of us,' 'It's what she'd have wanted captain'
Zehavi, age 17, finally leaves his crew to his first mate and goes to NRC.
From here, he gets sorted into Heartslabyul. God. What is there to say about Heartslabyul Zehavi? He wasn't unhappy there, and not all the times there were bad. He was a little cautious, and that came out as fight, but he was always good at adapting somewhere new.
He meets Trey and Cater, becomes fast friends with them. Becomes more with Trey. A lot more. Part of the reason Zehavi is drawn to Trey at all is because Trey is so normal, but in ways that are unattainable for Zehavi where he lives and grew up. Trey is drawn to Zehavi because Zehavi is remarkable in ways Trey knows he wasn’t, and thus felt comfortable to be himself around without feeling people’s eyes on him, because he always saw Zehavi as the eye catching one
Both of these things also ending up being what causes their eventual split. Zehavi may not have been unhappy, but he wasn't content. Heartslabyul was more laidback in their first year, and it was fine. But Zehavi wanted so so much more. and Trey encouraged it until he realized he was serious. This was the realization of how divided they really were. they get into a big fight about it.
“I thought—“ Trey sputters, rearing back at the betrayal in Zehavi’s eye, a weak smile stretching across his face, “I thought they were just daydreams!”
“They are! Just until I make them real!” Zehavi’s eyebrows crease, “What don’t you get that about that??”
“Zehavi,” Trey gently reaches his hand out. “Come on. Don’t be like that.”
“Like what?”
“I— no, you know I didn’t mean it like that—“
“I don’t actually." Zehavi sneers, rearing back. "Enlighten me, since you know everything all of a sudden.”
Zehavi is more emboldened than ever. And more than that, he can't stand to stay in this dorm anymore. Not with all its rules and lazy dorm members. Not with Trey who couldn't take him seriously and not with Cater who couldn't even look him in the eye before turning his back on him.
He convinces, forces, does everything in his power to charm and tell Crowley he needs to make Gallenautica. Maybe it's his silver tongue, maybe he didn't really believe him, maybe he's just insane— but Crowley agrees. Just under a few conditions. One of the main ones being that Zehavi has to pour his own magic into the pocket dimension as proof of his commitment because of the leap of faith Crowley was taking with him. That's what he is. That's Zehavi. A leap of faith. Something dangerous that nobody in their right mind can just trust.
And you know Zehavi— even if he knew it, he'd never admit he was biting off more than he could chew. Not if it meant proving people right about what they all thought about him.
...
Though this is not all of Zehavi's lore before the main game begins, I will be capping this off here to save that for another post with an overlapping topic and also because this is getting long.
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(SOME) RELATIONSHIPS
Riddle Rosehearts — Bad, it’s bad. Completely forget Trey and Zehavi’s relationship, a dorm full of rule breakers led by a captain who completely endorses it vs a bossy little tyrant who thinks she can order around his crew? It’s just better to keep them away from each other entirely.
Jade Leech — They’ve actually met on the open sea before. Jade has a verrryyyy small crush on him. The only issue is that their dorms don’t get along at all. Like, Azul has a longstanding grudge against Zehavi and his actual crew. Crying…Jade get up 😭😭
Malleus Draconia — Close friends, but only in their third year. Zehavi is undeterred by Malleus’ pedestal and always has been, but their opportunities to get close have been far and few inbetween until recently.
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EXTRA
Zehavi is twisted off of Captain Hook (hopefully obviously). However, he also draws inspiration from characters such as Nydas Okiro from ExU: Calamity and Monkey D. Luffy from One Piece.
The sole overblotee of Scrouge of the Neverseas. However, Zehavi actually isn't the only person in his dorm to overblot 👀
This guy is the TWST oc I have undoubtedly had the longest. While he's gone through a few changes, his overall lore, personality, and principles have remained the same.
Because Zehavi doesn't know his parents for certain, nor does he have anyone to turn to in that regard, none of his names were given to him or inherited by them.
His first name came from someone offhandedly because of how golden his eye(s at the time). He didn’t full understand the concept of a name so immediately started using it for himself because they pointed at him when they said it and he thought it meant ‘him’ (‘so then this is me’)
Hooke was something he earned because of how well he worked with the hooks at the docks when he was younger.
Even though he was far past copying and mimicking rich folk and trying so hard to be like them, Zehavi also adopts a middle name himself because he doesn't see why it's a thing only rich people should get to have. He chooses the name off of something practical and simple. Flint. something that helps keep people warm, no, rather, something that strikes the flame.
I don’t feel I’m particularly good at writing out full personalities but this guy is a CLOOOWN and only half of it is a ploy. He’s every bit the fiendish pirate you expect, and also a bit of a troll and an all around delight (if you like that kind of thing).
I ship him with Leona! They're known as Ocean Treasure or King's Gambit (used less frequently). You can mute the tag to avoid content of them, but fair warning, their history together has a lot of context for the rest of Zehavi's plot later on. They are hugely important and influential to each other.
Lore important posts will possibly be tagged with 'ocean treasure lore' so if you would like to filter them out completely, you can use that too!
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Are you curious about another perspective to Zehavi's backstory? Check out Sabir's or Kailani's profiles! Both if you're feeling spicy (currently a wip, will update with link when finished).
If you've come this far, thank you very much for reading! I might add more later to this but for now, I am releasing him into the wild.
a/c: @kokii-omii (thank you again for consistently bringing my oc visions to life and such LOL <3)
Okay. I’m gonna weigh in on this whole thing with my decidedly complicated feelings about the movie + the review thats been going around. Putting a read below here now with content warnings for Xenophobia, discussions of propaganda and generally informal-but-still-long-winded sociological/poli-sci analysis.
Let me start with where I disagree/diverge from the review:
So. TGM… In terms of its morals, there IS a very active struggle against the system. Like the entire point of Maverick’s presence is to teach them how to get out of this suicide mission (which everybody knows good and well it is) alive. And the entirety of the top brass doesn’t like it. That’s how it works in the armed forces, the driving force of basic training and your duty is that you accept the bodily cost of doing it. You are expected to die for it. This is wrong, the movie knows that this is wrong.
Inevitably there are issues with orders to stand down, referring specifically to the part in the review where the whole breaking the rules thing comes into play & Ice’s “You’re not safe.” assertions in the original. Especially when it comes to things that are meant for the safety of others, but like. Maverick/Pete is making the active decision to teach them techniques to keep them safe against orders. They’re dispensable to the Navy, but not to him. Their lives mean something more than a sacrifice play.
The problem really shouldn’t be that Maverick is disobeying orders? Those orders and implications are not about preserving the safety of the ones who carry it out, Rooster, Hangman, Phoenix, they all have to act against them in Maverick’s capacity to survive. They’re not wrong to want to live and find a way to minimize casualties.
The central out-of-text problem is, in my opinion: the mission itself: unilaterally bombing a foreign power and that the pilots are acting as an arm of the US Navy to complete it. They shouldn’t be there at all.
Now to where I agree with the review and make my overarching point:
Top Gun IS propaganda.
Not the on the nose ‘join today! Bear arms! I want you!’ wartime propaganda, but the more pervasive kind. Where honor and ethics have a place in one person when no one else in the system has it, where it’s something we see and we want to emulate. The kind that plants the seed that maybe, just maybe if we were more like Maverick that the system would be a better place. When the truth is that moral stuff does NOT belong there. Systems like that don’t have any real ethics beyond performance. Theres no redemption.
In this propaganda, the enemies don’t have a face because we fear what we don’t know. The enemies in the F-35s, much like the MiGs in the original are concealed. You don’t know their faces, their names, where they’re from. You don’t know because it doesn’t matter, you just know that they’re not American. At the core of Xenophobia is a fear or contempt of the foreign. The enemies in Top Gun are foreign; unspecified, but you can superimpose any country that has a current conflict with the US over them. Whether this is better or worse is a question for another day, but the point still stands: We (embodied in Mav, Rooster & co) are the heroes, they (the foreign) are the villains.
The Military Industrial Complex- the Navy in this case, is a system. It is an interest, and it depends on the labor of every part. Talcott Parsons’ AGIL theory is the best way to break this down. This theory is essentially the idea that If systems & structures are to survive, they must engage in four sets of activities aimed at meeting their needs:
Adaptation (A system cannot remain long at odds with its environment, it has to adapt) -> the US military no longer has the total favor of public opinion. It can no longer command and leverage that authority on screen, and therefore its portrayals in the media have shifted to accommodate a more flawed and complex view of it. If we see someone willing to cop to their failings, we are more inclined to hear their side of the story.
Goal Attainment (the need for a system to define and achieve its primary goals) —> the Navy’s defined goal is “to maintain, train and equip combat-ready naval forces capable of winning wars, deterring aggression and maintaining freedom of the seas.”. The goal by implication in this is maintaining the US’s status as what is called “hegemon”: the leading state actor (this is debatable. We all know that this place isn’t good at anything it says it is) by whatever means it sees fit. Colonialism, imperialism, you name it.
Integration (ensuring sure that enough time, energy, personnel, and resources are allocated on each level to maintain operations —> Technicians, aviators, upper command.
Latency (the need for a system to furnish, maintain, and renew the motivation of individuals.) —> the better you enforce and comply with the interests of the system, the higher you get to progress. Ex. Iceman, “ice cold, no mistakes.” who was promoted to *Admiral vs Maverick, who has never made it past the rank of Captain because he pushes past orders.
Whether we like it or not, on some level, Top Gun is an advertisement for war and death… Every major DOD funded film is, those fuckers keep an eagle-eye on the script and will pull funding if they don’t like what they see in a project’s portrayals of the military. Though I honestly didn’t think of it as anymore or less egregious in this film than the nonstop resurgence of propaganda we’ve been getting since 9/11, or when the MCU started to dominate the market- it just so happens to be easier to pick apart because of its backdrop.
That being said: you’ll have a hard time finding solid-gold unhypocritical moral critiques within the text of a widely marketed movie It’s quite frankly, incompatible with the nature of mass media distribution and government funded films. The Department of Defense (DOD) funded Top Gun: Maverick. That funding provided it with the tools to deliver its various spectacles. You really can’t be the blockbuster of the year and take a genuine reformist or abolitionist stance on anything. Not without some scrubbing and stripping in the edit. What comes out is disingenuous/by and large hypocritical. Big Hollywood Films as an industry rely on making its products reach as wide and general an audience as possible. Shying away from ‘alienating viewers’ and being too ‘heavy-handed’, and having the state fund your film inevitably means that the studio will be catering to some, if not all it’s expectations. They will always calculate the worst groups of people to take shit out of a movie like this into the equation because engagement and investment is money.
TLDR: Many things can be true at the same time. Top Gun can be both propaganda and an enjoyable cinema experience with its own merits. I’m not trying to be a both-sides-ass-bitch about this but like. The point of critical engagement is to understand the implications of a given work for your own education and to communicate it with others. Propaganda doesn’t strip away the entirety of a work’s creative merits (for the most part. I am naturally excluding pure bad faith racist, anti-islamic/semitic, transphobic shit), but it informs them. You can’t cut that shit away or divorce it from the material. It’s still there. You shouldn't throw the whole thing out as just ’movie’s bad morals = not competently made’ either, thats how people get swept up into propaganda and end up lacking the skills to recognize the shit when its laid out in front of them.
I liked the movie well enough to see its strengths and assess it as a sequel that preserves the spirit, charm and entertainment value of the original. But I won’t pretend that the DOD, who would have a vested interest in celebrating what its machines can do to the worldwide viewers who bring in the box office gross, didn’t have its own intentions when it gave the green light. I won’t act like those intentions aren’t reflected in the writing either, even if there’s a bit of a well-reasoned critique there.
Sources:
Contemporary Sociological Theory and It’s Classical Roots: The Basics - Fourth Edition by George Ritzer
https://www.washingtonpost.com/history/2022/05/27/top-gun-maverick-us-military/ International Relations: Perspectives, Controversies and Readings Fifth Edition by Keith L. Shimko
. . . this nineteenth-century, anti-Calvinist attitude of blissfully directing some cosmic Spirit to attend to our well-being still ubiquitously and insidiously trickles down to us through our modern obsession with goal-setting. Again, to be clear, there is little doubt that if a person lacks any motivation or engagement with his or her life, then focusing on a healthy target to reach may provide a useful spur. But goal-setting has become for many a way of life, synonymous with worthwhile achievement and personal progress. It starts when we are young: we choose these subjects for GCSE in order to study these ones at A level, in order to go to this university, to study this subject, to get this job, to get this promotion and work our way up this corporate ladder, to what? Meanwhile, our lives are relegated to something that happens, to borrow from Schopenhauer, ad interim: in the meantime; unattended. . . .
We are told by self-styled self-help gurus and the folk wisdom down into which their proclamations have trickled, that we must clearly visualise for ourselves the specifics of a successful future and progress along the direct path towards those goals. Any number of books - with titles like Goals: How To Use Goal Setting To Get Everything You Want Fast and Goal Setting: Discover What You Want In Life And Achieve It Faster Than You Think Possible - offer to show you the simple secret formula for guaranteed success, and bring us close to [Rhonda] Byrne's misleading vision. Goals, we are told, are to be Specific, Measurable, Achievable, Realistic and Time-Targeted (S.M.A.R.T.). Once we have committed ourselves to such an ambition, and have found the route to achieving it, we can then move, sometimes Faster Than You Think Possible, to getting there. What on earth is wrong with that?
A lot, I would suggest.
Firstly, we tend to grossly misunderstand what will make us happy. . . . From a starting point of ignorance and misinformation, we commonly choose the wrong goals. Locked within our neat little stories of who we are and how we would like that story to continue, we aim for point on the horizon that advances the narrative in the direction we see fit. For some, it is to be a millionaire by a certain age. For others, to be the biggest and best at their job. Very commonly, these goals are driven by a vision of financial success that we aim to realise within the next few years or by a certain age. At all levels, the drive to achieve the brightest kind of success is seen as the most natural and robust path in life. . . .
So we establish a goal, which may well be misguided, because we tend to make incorrect judgements about what makes us happy. What then? We now strive towards that specific, planned-out success, and her we encounter our second problem with the fetishising of goals. We invest too much and too specifically. If we stay true to our plan, we will need to sacrifice other aspects of our life to reach our intended destination. We forget that nothing happens in life independently of others. You may find yourself a partner and get married as intended but then suffer the loss of other dreams that you now regret abandoning. You may become a millionaire by thirty-five but at the expense of your personal relationships. The goal has proven too specific, too isolated; upon reaching your destination you realise with companionless regret that this solitary and lonely place was too remote and too much has been left behind.
Or if the journey's end is not so lonely, or if success is reached without too much sacrifice, what then? The enjoyment of arrival is usually short-lived; the happiness envisioned and rehearsed for years is unlikely to last. Why? Because it does not arrive quite as satisfyingly as suspected; because we quickly get used to it; above all, because when on arrives one is still oneself, with whatever tendency towards dissatisfaction or restlessness that may bring. So what next? Set another goal? Other dreams have been forgotten; one must start anew. After we achieve our goals, we are forced to disidentify with them. . . .
What if we fail? When the universe and fortune have not played according to our hopes, and we have sacrificed much to the pursuit of something that has now proved elusive, there is the double anxiety of humiliating failure and the same confusion as to what to do next.
To avoid failure, the faith/self-blame process demands a constant renewal of investment. Blind faith in the desirability and achievability of the goal (and a fear of its collapse) has us abandon all sense in its pursuit. . . . Determined to retain a positive outlook, we remove naysayers from our lives, as the self-help industry instructs us. This may make for a proud slogan for social-media profiles - a snappy, self-assured 'Ignore the h8ters' - but it can be a dangerous folly. By removing or ignoring sources of honest feedback, we create a neat means of fuelling the downward spiral of self-deception. When we proudly denounce those who would undermine our self-belief, we emulate a model of strength we have been sold principally through the biographies of successful, strong entrepreneurs. We equate persistent commitment and the ability to laugh at one's detractors with a recipe for success. But this is a lie. We believe it because we are told it through many channels, but its source springs from a powerful select few who boast about their life stories as they perceive them. . . .
These are overwhelmingly the self-serving rationalisations of people who, upon becoming successful, now wish to feel that they have rightfully earned their status and the respect of others. . . . The perpetual and overwhelming play of random chance is glossed over, and in its place a hero's journey is invented. And very often that story is one of adhering to a vision, no matter what, and having no time for those who would get in the way or did not share the hero's Herculean self-belief.
This success story is a fiction. And we know it is a fiction, because it is also a recipe for failure. To persist with a belief in an end goal, to ignore the cries of others who tell you that your aspiration is unrealistic, to proudly commit yourself to a maverick scheme against all odds - this is the story of financial ruin far more often than it is one of success. . . . Many more will fail than succeed through blind self-belief. But we don't read books of entrepreneurial failure, only the triumphs, so we cannot learn from those tales of dogged self-belief anything of value. . . .
Arthur Schopenhauer describes, I think, a more accurate dynamic, in his Counsels and Maxims: "Events and our chief aims can be in most cases compared to two forces that pull in different directions, their resultant diagonal being the course of our life."
. . . The nineteenth-century philosopher is saying: you do not have the control over your life that you might like to believe. You will of course have certain aims, pulling you in one direction. However, life is constantly pulling back in the other. . . .
Schopenhauer also uses the game of chess to give us another image of how our goal-setting might be unrealistic. When playing chess, we start out with a plan, but our plan is affected by the inclinations of the other player. Our plan must modify itself constantly, to the point that, as we carry it out, several of its fundamental features are unrecognisable. To stick blindly to the same goals would be to deny that a second, independent player was at the board.